OCTOBER 28, 2012, 21st SUDAY AFTER TRINTIY SUNDAY
Readings:
Epistle: Ephesians vi. 10-17 (Put on the armour of God)
Gospel: John iv. 46-54 (The nobleman's son healed)
BWV 109 ICH GLAUBE, LIEBER HERR, HILF MEINEM UNGLAUBEN! (I
BELIEVE, DEAR LORD, HELP MY UNBELIEF)
Leipzig 1723
Translation: http://emmanuelmusic.org/notes_translations/translations_cantata/t_bwv109.htm#pab1_7
The theme of faith is taken from the Gospel reading. In the
opening it is expressed a wavering between doubt and faith in words taken from
Mark 9.24. Both faith and unbelief are equally exclaimed. The cantata will
bring us into the light of faith at its resolution. And indeed, like other Trinity
cantatas it seems to reach for the end of the year and there is a longing for
“the end” at one point to bring resolution.
The opening chorus is a very fine one based on a short text
with opposing point of view that are exclaimed against each other in the music.
Emmanuel Church’s notes are worth reading: http://emmanuelmusic.org/notes_translations/notes_cantata/n_bwv109.htm#pab1_7
The tenor aria in mov 3 expressed doubt again . . . “How
full of doubt is my hope, how my anxious heart wavers.” The string
accompaniment is highly dramatic from the outset. A lengthy aria that expresses
grave doubt and concern.
The resolution comes with the alto recit and aria. This aria
is one of great calm following the angst of the tenor aria.
A lengthy chorale
brings final resolution – but the setting is richer than most. Well worth
listening to.
BWV 38 AUS TIEFER NOT SCHREI ICH ZU DIR (FROM THE DEPTHS OF
WOE I CRY TO THEE)
Leipzig 1724
Translation: http://emmanuelmusic.org/notes_translations/translations_cantata/t_bwv038.htm#pab1_7
The theme is again one of faith – doubting and then firm.
The opening chorale (a carefully constructed motet fugue) is
based on a hymn of Luther’s which is based on Psalm 130. This hymn was sung at
Luther’s funeral and it is a serious, almost dirge-like setting here.
Mov 2 and 3 is an alto-tenor recit-aria pair. The aria has
two oboes and a bassoon obbligato. Syncopated as if mimicking the steps of
pilgrim picking his or her way through life.
Mov 4 recit has an instrumental chorale over the top.
Mov 5 is a trio (a terzetto) – one of only three in the
Leipzig cantatas. This is such an interesting movement as each voice works
around the other. “It has an unusual character, nervous and flighty. The piling
up of the three voices in tight counterpoint increases its agitation. The
change from worry to sudden redemption is astoundingly achieved with the
vertiginous harmony at the cadence, hair-raising in its intensity” (Emmanuel
Music).
A plain chorale ends the work.
BWV 98 WAS GOTT TUT, DAS IST WOHLGETAN (WHAT GOD DOES,
SURELY THAT IS RIGHT)
Leipzig 1726
Translation: http://emmanuelmusic.org/notes_translations/translations_cantata/t_bwv098.htm#pab1_7
If the first two cantatas for this week are wracked by doubt
this one expresses great confidence and nothing but.
Two other cantatas start with the same opening line (BWV 99,
100), but this one is not a chorale cantata although it opens with such.
The opening has a question and response between the chorus
and the orchestra. The cadences are interesting in the orchestral part, but the
chorus is plain. It is the orchestra that introduces the interest here.
A lengthy recit leads to a soprano aria with oboe obbligato.
There is a melancholy – “Cease my eyes to weep!” This is a very touching aria.
An alto reit leads to a bass aria that concludes the
cantata. No chorale ending, but the aria opens with a line from a hymn (“I will
not let go of my Jesus”). The rhythmic violin obbligato emphasizes this
proclamation. This is an enjoyable aria.
BWV 188 ICH HABE MEINE ZUVERSICHT AUF DEN GETREUEN GOTT
GERICHT (I HAVE PLACED MY CONFIDENCE IN THE TRUE GOD)
Leipzig 1728
Translation: http://emmanuelmusic.org/notes_translations/translations_cantata/t_bwv188.htm#pab1_7
The opening sinfonia movement is the third movement of the D
Minor harpsichord concerto (BWV 1053). We
have met the previous two movements in the cantata BWV 146.
Like BWV 98, this cantata expresses quite confidence from
the outset.
The opening aria (tenor) has an expansive, somewhat pastorale
feel to it, and it is a long movement. This aria proclaims confidence and
faith. It is da capo and the central section picks up the tempo considerably.
In the da capo you will likely find yourself humming along.
After a fine recit that ends with an arioso on the last line
there follows an alto aria with organ obbligato. Like the first aria, it is da
capo. The “A” section has beautiful long lines.
The recit movement 5 has a dramatic start (“The might of the
world dies away”) and ends with calm confidence in an arioso (“God however
shall endure forever”).
A chorale ends the work.
